γ΄ ΕΙΣ ΤΟ ΤΟΥ ΕΡΩΤΟΣ ΑΓΑΛΜΑ
(1) Καὶ ἑτέρας ἱερᾶς τέχνης οἱ λόγοι προφητεῦσαι βούλονται· οὐ γάρ μοι θεμιτὸν μὴ καλεῖν 15ἱερὰ τὰ τέχνης γεννήματα. Ἔρως ἦν, Πραξιτέλους τέχνημα, ὁ Ἔρως αὐτός, παῖς ἀνθηρὸς καὶ νέος πτέρυγας ἔχων καὶ τόξα. χαλκὸς δὲ αὐτὸν ἐτύπου, καὶ ὡς ἂν Ἔρωτα τυπῶν τύραννον θεὸν καὶ μέγαν καὶ αὐτὸς ἐδυναστεύετο· οὐ γὰρ 20ἠνείχετο χαλκὸς εἶναι τὰ πάντα, ἀλλ᾿ ὅσος ἦν, Ἔρως ἐγίνετο. (2) Εἶδες ἂν τὸν χαλκὸν θρυπτόμενον καὶ εἰς εὐσαρκίαν ἀμηχάνως χλιδῶντα καὶ ὡς βραχέως εἰπεῖν τὰ ἀναγκαῖα πληροῦν ἑαυτῇ τὴν ὕλην ἀρκοῦσαν. ὑγρὸς μὲν ἦν ἀμοιρῶν 25μαλακότητος,1 χαλκῷ δὲ ἔχων συνῳδὸν τὴν
3. On the Statue of Eros3
My discourse desires to interpret another sacred work of art; for it is not right for me to refuse to call the productions of art sacred. The Eros, the workmanship of Praxiteles,4 was Eros himself, a boy in the bloom of youth with wings and bow. Bronze gave expression to him, and as though giving expression to Eros as a great and dominating god, it was itself subdued by Eros; for it could not endure to be only bronze, but it became Eros just as he was. You might have seen the bronze losing its hardness and becoming marvellously delicate in the direction of plumpness and, to put the matter briefly, the material proving equal to fulfilling all the obligations that were laid upon it. It was supple but without effeminacy; and while it had the proper colour of bronze, it looked
Since what is said of the dress and attitude of this figure agrees with the manner of Praxiteles, there appears no reason to doubt the statement of Callistratus that it is the work of that sculptor. Compare the Eros from the Chigi Collection, now in Dresden (Clarac, Mus. de sculpt. Pl. 645, No. 1467;
Michaelis, Arch. Zeit., 1879, p. 173, Pl XIV. 6), in which, however, the right hip is thrown out (cf. 425, 2 K); also the Eros from the Palatine now in the Louvre, Fig. 33, p. 387 (Fröhner, Notice de la sculpt. ant., p. 311, No. 325; Furtwängler, Roscher’s Lex. d. griech. u. röm Myth. I. 1360 f.), in which the left arm with the bow is not raised—but μετεωρίζων (425, 1 K.) does not necessarily mean “raised.” (Benndorf.)
Praxiteles of Athens, probably son of the sculptor Cephisodotus; his artistic activity falls about the middle of the fourth century b.c.